III. The Family Journal, No. I.-Family of the Honeycombs IV. Lines on a Lady, who died in consequence of a Sun-stroke XII. Love XXI. Madame Pasta and Mademoiselle Mars XXII. Complaint of Amanicu des Escas-Lay of the Wandering Arab XXIII. Irish Portraits, No. I.-Mr. Terence O'Flummery XXIV. Thekla's Song; or, the Voice of a Spirit THE NEW MONTHLY MAGAZINE will be, from this date, republished by N. HALE, to whom it is requested all communications may be addressed relating to it. The subscriber has transferred to NATHAN HALE all his interest in the American edition of the New Monthly Magazine, together with all claims on ac- count of the same. Subscribers to the Magazine and Agents indebted for it, are requested to remit the of Cambridge (Class () 18157 THE AGAZ NEW MONTHLY MAGAZINE. ORIGINAL PAPERS. LECTURES ON POETRY, BY T. CAMPBELL. LECTURE IX. Introduction. In my last lecture, I took a summary view of the extent and variety to which Greek poetry was cultivated in its different provinces of epic, didactic, lyric, and prophetic composition. I forbore to speak of the drama of Greece, until I should have treated more fully of her lyrical bards. But, for reasons which I trust I shall be able to explain satisfactorily on a future occasion, I shall, for the present, drop the consideration of the Greek Lyrics, and proceed with no great delay to the Athenian drama. To go at once into the central ground of this subject, would not be treating it with justice. Though most people may know, that Eschylus flourished at the era of Marathon, and in the glorious days of Athens; yet the bulk of readers have probably no very distinct recollections of the particular circumstances of the Athenian state, at that interesting period. Those circumstances are highly worthy of being placed in the clearest attainable view, before we venture to investigate the character and genius of the draina itself. It would be bad taste to cross the threshold of the Attic theatre, even in imagination, without paying some previous attention, to the age, the place, and the people, where that theatre arose, and without meditating on Athens, the eye of Greece-mother of arts And eloquence, native to famous wits Millon. In these preliminary remarks on Athens, and on the general state of Greece, as it was connected with Athens, I would rather run the risk of being redundant to make sure of being perspicuous, than be concise at the hazard of obscurity. It is my main and specific object to give some idea of the beauties of the Greek Muse, to those who may have had few or no opportunities of otherwise attending to the subject. And barring distrust in my own competency, I can imagine no reason for considering this attempt to be impracticable from the nature of the subject. It is true that no conception of the harmony or expression of poetry can be conveyed to those who know nothing of the language in which it is written. Yet on the other hand let it be demanded, whether harmony and expression be the all in all of Poetry; and it will certainly be acknowledged, that, however important they may be, they are less essentially important attributes, than invention, passion, and the portraiture of character. These are to Poetry what drawing and grouping are to Painting. Their effect is heightened by the colours of |